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March 26, 2014


Note in the above video how white people are the 'villains' (bourgeois) 
and Hispanics are the oppressed victims (proletariat). 

One way to understand cultural Marxism is to imagine a stage play.

The bourgeois villain with his
proletariat victim.
There are three characters:

1. Villain
2. Victim
2. Hero

When Karl Marx wrote the template for the stage play, he used terms that sounded more academic to give his work a credible scholarly tone.

1. Villain he called bourgeois
2. Victim he called proletariat
3. Hero he cast himself

In America the play has multiple scenes.

1. Bourgeois villain is all white people
2. Proletariat victim is all black people
3. Hero is forced integration, Affirmative Action, NAACP, etc.,

The heroic Marxist fends off the evil racists, homophobes,
industrialists, Tea Party, or whomever
to rescue Pauline. 
1. Bourgeois villain males
2. Proletariat victim women
3. Hero is feminism, Sandra Fluke, NOW, etc.

1. Bourgeois villain Christian fundamentalism
2. Proletariat victim homosexuals
3. Hero is militant gay advocacy

1. Bourgeois villain is white people
2. Proletariat victim illegal aliens
3. Hero is amnesty, Democrats, La Raza, etc.

Note that the bourgeois villains are demonized and dehumanized with derogatory labels such as racists, chauvinists, homophobes, and xenophobes respectively.

The playwright, Marx, thinks it important that the audience correctly identify the villain so they know who to boo.

In pre-Soviet Russia...

How sad that so few can't detect the difference
between Marx's stage play and reality!
1. Bourgeois villain was nobility
2. Proletariat victim was peasants
3. Hero was Lenin and later Stalin

In Karl Marx's Britain...

1. Bourgeois villain was industrialists
2. Proletariat victim was labor
3. Hero was Marx

In Mao Zedung's Cultural Revolution...

1. Bourgeois villain was educated class
2. Proletariat victim was peasant farmers
3. Hero was Mao

What makes this a great stage play is that the plot and subplot contradict each other. The masterful playwright has engaged our minds with insidious trickery.

Alas! the hero is no hero at all!

• The underlying subplot, missed by most observers, is that each story tells how Marx takes control.

Both "villain" and "victim" are manipulated by the "hero" so Marx can dominate both. There actually is no hero in the play, only victims pitted against each other by Marx who, it turns out, is the real "villain."

So, in reality, the hero is the real villain and both the bourgeois and the proletariat are his victims.

The audience is given subtle clues. Did you catch them?

• The astute observer will notice that the hero is selective when choosing victims to defend.

Our hero, Marx, cares very much about Rosa Park's sore feet. But he could care less about a white woman beaten nearly to death by a mob of black teens on a bus.

Why is that? The plot thickens!

• The demonized Bourgeois "villain" is made to feel shame and guilt for repressing the proletariat victim. This guilt motivates him/her to support the hero in fighting themselves to rescue the proletariat victim.

• The victim is easy to persuade that he/she is being victimized.

• The villain is difficult to persuade that he/she is vilifying the victim because, in reality, he/she isn't!

Most of the story's plot involves convincing the bourgeois that he actually is the villain. Our Marxian "hero" must go to great lengths to persuade the white guy that he is truly vilifying black people. We watch the stage as the insidious Marx manipulates his mind with smoke and mirrors by rewriting history, producing white-guilt movies, imposing himself on the education system, teaching white privilege as the common core of government school curriculum, intimidating the villain with name-calling, having the proletariat victim cry on cue, introducing bogus concepts such as critical race theory, mirco-racism, disparate impact, and so on.

We want to shout from the gallery, "Wake up! Marx is the real villain!"

But, alas, it's just a play and they are mere actors. Aren't they?

• Note that the play has no end; that the plot is perennial.

The plot in Marx's play -- class struggle -- is, in reality, class envy. It is designed to keep the masses in a constant state of rebellion and dependent on the Marxist to fight the ever-present villain.

The racist is often foiled, but never killed or captured. The xenophobe is a perpetual nuisance requiring the proletariat victim to depend on the Marxist. The male-dominated society is forever a threat to women, requiring them to support their Marxist caregiver.

Even in Mao's China the revolution continued assuring Mao would be leader for life.

• What makes this the greatest stage play ever produced is that our culture is the stage, we are all the "actors," and that the Marxists actually are taking over.

Watch this video by Marx and see if you can detect the subplot.

Note how the video manipulates your mind, convincing you -- the white guy -- that you are a villain. And, all the while, easily convincing the victims of the same.

Can you see it?


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